The art critic Peter Schjeldahl called him "relentlessly experimental" because of his pioneering work in painting, drawing, photography, collage, sculpture, film, theater, and writing.

[1] He also worked collaboratively with other artists, including his first wife Lucia Moholy, Walter Gropius, Marcel Breuer, and Herbert Bayer.

[citation needed] After his discharge from the military in October 1918, Moholy-Nagy abandoned his law studies[7] and attended the private art school of the Hungarian Fauve artist Róbert Berény.

In 1918, he formally converted to the Hungarian Reformed Church; his godfather was his Roman Catholic university friend, the art critic Iván Hevesy.

[7] In 1922, at a joint exhibition with fellow Hungarian Peter Laszlo Peri at Der Sturm, he met Walter Gropius.

He took over Johannes Itten's role co-teaching the Bauhaus foundation course with Josef Albers, and also replaced Paul Klee as Head of the Metal Workshop.

Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, film-making, and industrial design.

One of his main focuses was photography; starting in 1922, he had been initially guided by the technical expertise of his first wife and collaborator Lucia Moholy.

[19][20] It was made with the help of the Hungarian architect Istvan Seboek for the Deutscher Werkbund exhibition held in Paris during the summer of 1930; it was later dubbed the Light-Space Modulator and was seen as a pioneer achievement of kinetic sculpture using industrial materials like reflective metals and Plexiglas.

In the summer of 1931 Moholy-Nagy travelled to Finland with his then girlfriend actress Ellen Frank (sister-in-law of Walter Gropius), as a guest of Finnish architect Alvar Aalto.

[24] Sibyl collaborated[citation needed] with her husband to make Ein Lichtspiel: schwarz weiss grau ("A Lightplay: Black White Gray"), a now-classic film based on the Light-Space Modulator.

[citation needed] Moholy-Nagy earned a living in London by taking on various commercial design jobs, including work for Imperial Airways and a shop display for men's underwear.

Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were mostly unused by the film's director.

[citation needed] In 1937 his artworks were included in the infamous "Degenerate art" exhibition held by Nazi Germany in Munich.

[26] The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt had designed for department store magnate Marshall Field.

[7] He continued to produce artworks in multiple media, to teach, and to attend conferences until he died of the disease in Chicago on November 24, 1946.

The software company Laszlo Systems (developers of the open source programming language OpenLaszlo) was named in part to honor Moholy-Nagy.

[5] In 2016, the Solomon R. Guggenheim Museum in New York exhibited a retrospective of Moholy-Nagy's work that included painting, film, photography, and sculpture.

The film centers on Moholy-Nagy's life and legacy in Chicago, featuring his daughter Hattula Moholy-Nagy, grandsons Andreas Hug and Daniel Hug, curator Hans-Ulrich Obrist, and artists Jan Tichy, Barbara Kasten, Barbara Crane, Kenneth Josephson, Debbie Millman, and Olafur Eliasson.